Concertina



Feb. 14, 1928.

F. s. PITT-TAYLOR CONGERTINA Filed Oct, 2, 1923.

5 Sheets-Sheet l ZGINLVENTOR QWwW/ J J; imm.

WITNESSES. Z1 625 2 5 F. s. PITT-TAYLOR GONCERTINA Filed Oct. 2, 1925 6 Sheets-Sheet 2 i E m EMY 12E OIFK IFK MF RFKi LFK OLFK m 40 49h 4c I 0 o w:

HMDI 131 Y m OLFK LFK l MFK IFK OIFK W INVENTOR.

Feb. 14, 1928. 1,659,414 I F. S. PITT-TAYLOR CONCER'JINA Filed 2. 192:5 e Sheets-Sheet 3 I 11 111 H Y MLF. SET OIFK IFK RFK LFK OLFK Q) 6 g RLF.

I y OVLFK LFKRFKHMK IFK OIFK WITNESSES INVENTQR Feb. 14, 1928.

. F. S. PITT-TAYLOR CONCERTINA Filed 001;. 2, 1923 e Sheets-Sheet 4 RFK LFK OLFK I II IE E Y 111 OIFK IFK MFKH I I BI 11' Y E OLFK LFK RFK MFK IFK OIFK INVENTOR F. S. PITT-TAYLOR CONCERT INA Feb. 14, 1928. 1,659,414

Filed. 9st, 2, 1925 I IE OIFK IFK 6 Sheets-Sheet 5 IIEJIETII'SZ'EE WITNESSES.

WW INVENTOR.

Patented Feb. 14, 1928.

FRANCIS stran ers PITT-TAYLOR, or BLACKPOOL, ENGLAND.

coivonnrma.

Application filed October 2, 1923, Serial No. 863,191, and in Great Britain October 3, 1922,

This invention relates to improvements in the keyboards of concertinas in which the keyboards are particularly adapted to the hands, the one to the one hand, and the other to the other handof the player, the keys of each keyboard being grouped in six parallel rows perpendicular to the st 'aight line of the handrail, the keys in the body of the keyboard forming transverse line t six ditte'rent-number keys, at least four or which form a straight-transverse line of keys parallel with the line of the handrail, so that sometimes there may betwo keys halt a key-width above or below this line, the twelve ditlierent notes of each octave beingsounded by a pair of semi-octaveangular-transverse sets of six keys which are distributed over three straight-transverse lines of six keys, so that any straight-transverse line of six-keys con- [11118 portions of three semi-0ctave-angulartrausverse sets of six keys, whilst the order of the notes sounded of each octave is thatof a regular chromatic scale, one semi-octaveaugular-transverse set/of every pair of six keys sounding the notes'r-L-Asharp, B, C, C sharp, and D, and the other semi-octave-angular-transverse set of every pair of six keys sounding the notes I) sharp, E, F, F sharp, G, and G sharp. By these improvements the task of playing the concertinaespecially by the little and ring fingers is greatly facilitated.

In order that the several parts of my said invention may be easily and clearly understood, they are illustratedinthe accompany-- ing drawings, Figures 1, 3,, 5, T, 9, and 11, which show the keyboard on the right hand side of the concertina, whilst Figures 2, 6, 8,10, and 12, show that on the left hand side of the instrument.

Figures 1, 2, 3, l, 5, 7, 9, and 11 show 36 keys arranged in six diiterent-nuinhor straigh -transverse or angular -transversc rows of six keys, the keys being dil'lerently numbered from the left edge in a straight or angular line across the keyboard, whilst Figures 6, 8, 10, and 12 show 30 keys arranged in five difierent-number angular-transverse rows of six keys.

In Figures and 6 the line HH divides the keyboard into two sets'ot threekeys in each set. 2

The compass shown in Figures 1, 8, 5, 7', S), and 11 extends from A on the secondleger line below the line or" the treble stalt to G sharp on the fourth leg'er line above the line oi? the same staff in Figures 1, .3, 7, 9, and 11, and to G sharp in the first space above th line of the same stuff in Figure 3; or 'l'roin A in the fourth octave to G sharp in the si th octave, or G sharp in the litth octave of a pianotorte' keyboard.

The compass shown in l igurcs 1, t 8, 10, and 12, extends from A in Figure it) on the third line below the line of the bass stali', t'roinD sharp in Figures 2, (i, 8, and 12 in the second space below the line oi the bass staii, and from A in Figure 1 in the first space of the bass staff to D in Figure in the second space above the line of the same staff, to G sharp in Figures 1, G, 8, and 12 on the third leger line above the line of the same six-ail, and ml) in Figure 2 on the fifth ieger line above the line of the same stali; or from A or D sharp in the second octave, or from A in the third octave to D or sharp in the fourth octave or to D in the tilth octave ot' a pianotorte keyboard.

In Figures 1 and 2 the keys semi-octave note-sounders run straight across the board. The lines MM which cut oli three keys in these figures, in Figure 3 cut oil three keys belonging to the sixth octave, and in Figure i to the fifth octave. Also the lines Oi which cut off nine keys in Fi ires l and 2, cut oil? nine keys belonging to the third octave in Figure 3, and to the second octave in Figure at. Since an octave really includes thirteen notes, eight diatonic and live chromatic, and the eighth note of the d'atonics, or the thirteenth note is also the lirst note of the succeeding octave, octave marked ZL-t to 3G sharp really included the note marked l-A, and octave 42A to 4G sharp the note marked Consequently, there are two complete octaves in each oi? the Fig and a when we remember to i notes marked 5A and 6A.

Figures 7 and 8 illustrate the li position of my former patent, l U. S. A., No, 1, r-1'Z,1OT, patented 23, 1922, of which this invention is an iu'iprovement.

The figures have headings which are placed above the keys which not only dis tinguish the lingers which sound them. most easily, but number them from the left edge of the keyboard with the number-s1 to V1 placed above the linger lahels. All the keys placed one above the other from the bottom to the top of the figures where there is a number constitute a same-number row so divided by the line HI-I into two parts, one

containing the same-number rows IV, V, and VI. The same-number rows I, II. and III in Figure 5, and rows IV, V, and VI in Figure 6 are sounded by the middle and index fingers and so'are termed the MIF or middle-index fingers set.

These keys form transverse rows of dilferent-numbe-r keys YY, parallel to one another, which slope upwards to the right on the right side and to the left on the left side thus forming an angle with the line of the handrail. The same-number rows I, II, and IIT, in Figure 6, and rows IV, V,and VI in Figure 5 are sounded by the ring and little fingers and so are termed the RLF or ring-little fingers set. These keys in Figures 7 and 8 form lines XX which are parallel with the lines YY, but a slope which suits the increased length of the middle over the index finger cannot possibly suit the reversed condition, the decreased length of the little finger under the ring finger. In order to adapt these keys to the hand of the player, in Figures 5, 6, 9, and 10 they are placed in straight lines NN; NNI, NNQ, NN3 parallel with the line of the handrail HR, thus enabling the little finger to sound the LFK or little finger key and the OLFK or outer little finger key more easily than before. The three keys of the RLF set through the line NN are seen to be in a line with the IFK or index finger key of the MIF set, the or middle finger key being only half a keywidth above and the OIFK or outer index finger key being only half a key-width below this line NN. This contrivance is not only a modification of the invention illustrated in Figures 7 and 8, but also of that shown in Figures 1, 2, 3, and 4, so that the construction of the keyboard in respect of this improvement is greatly simplified, for no angles need to be measured or considered in setting out the position of the keys.

' According'to the compass, and therefore to the number of octaves required, a series of parallel straight lines parallel with the handrail, and a suitable distance apart, about two key-widths, in number including two for each octave and two extra for the keyboard, like lines of print, are first drawn. These lines are divided at six points at suitable distances apart by six perpendicular lines, and each intersection represents a possible key. On the right side with the coinpasses a circle is drawn the width of a key.

whose centre is placed on the sixth intersection of the last or bottom row, and similar circles are drawn at the fifth and sixth intersections of the penultimate row, and at the second and fourth intersections of all the rows above, and at the fifth of all the rows above except the first, and at the sixth of all the-rows above except the first and second, and half a key-width below the first intersection of all the rows above, and half a key-width above thethird intersection of all the rows above. If in the above description, the word first be substituted for the word sixth, the word second for fifth, third for fourth, fourth for third, fifth for second, and sixth for first, it applies exactly to the left side, and so from this plan both keyboards can be easily constructed, It will be noted that the right side,

necessary in order that the keyboards should 7 be particuarly adapted to each hand of the player. 7 1

In thernodification illustrated in Figures 11 and 12 the circle is drawn at the third intersection of allthe rows above on the right hand side and at the fourth on the left hand side; and in that illustrated in Figures 3 and 4 at the first intersection of all the rows above on the right hand side and at the sixth on the left hand side as well.

The keyboards seen in Figures 1 and 2 differ from the other figures for clarity of description by having the length-of-fingers difierence in the position of the keys eliminated. Counting the rows upwards, the first two different-number rows of six keys of Figure 1, and the second and third difi'erent-number rows of six keys of Figure 2,.

and the keys of every succeeding pair of rows in both figures are able to sound when pressed the naturals and chromatics of one the right side, and from left to right on the left side. The notes sounded in the first different-number row of any pair by its keys are A, A'sharp, 13,0, C sharp, and D,

and the notes sounded in the second different-number row of any pair by its keys are D sharp, E, F, F sharp, G, and G sharp. The chromatic notes are therefore placed in their proper position with reference to their appropriatenaturals, the tones, the sharps being placed in front of and the flats immediately behind their appropriate tones. By having the first alphabetically named note A soundedby the first key in each pair of different-number rows, the octave beginning therewith is completely contained in two rows of keys, which is true of no other regular order. This regular order fulfills the requirements of consistency in placing first things first, first in placing A first, and first in placing the order of the chromatic scale on the left side to progress from left to right which isthe pianotorte order and the alphabetical order, and by having the righthand to reverse the pianoiorte order but not the alphabetical order the samenamed finger on either side is able to play the same-named note of similar. .in some cases, or of lower or higher pitch in other cases with equal facility.

Since the fingers are not all equally endowed with muscular power and in consequence the index and middle finger pair are superior to the ring and little finger pair in their muscular endowments, this keyboard is adapted to the construction of the hand by having three chromatic notes to be sounded by the better endowed pair, and only two by the lesser endowed pair. For F sharp, C sharp, and Cr sharp are sounded by the index and middle finger pair, and B fiat and E fiat by the little and ring finger pair.

It will be observed in Figure t that the keys assemi-octave notc-sounders form an angle whose apex is at the RFK, one limb sloping upwards from the OLFK ot the fii st row Z1, numbering the rows from below upwards, to the R1 K of the third row shown by the line passing through or connecting the note-sounders 3A, 3A sharp, and 3B, and the other limb shown by the line passing through or connecting the note-sounders 3B, 3G, 3G sharp, and 3D running straight across the board parallel with the handrail'to the OIFK of the sixth row N1. This angle Z13BN1 isolates three keys, two of which 31) sharp and 3E belong to the next semi-octave row above, and one LA which is the octa-ve-offiA, and also the first note of the octave above. The straight transverse row NNl is thus seen to be compounded of parts of three semi-octaveangular-transverse rows. the OLFK sounding the last note 4A of the octave, the LFK sounding a note 3E belonging tot-he upper partof the octave, and the remaining four keys sounding the notes 33, 3G, 3G sharp and 3D belonging to the first part of the octave. These three semi-octave-angulartransverse rows ZlNl, Z2N2 and Z3N3 seen in Figures 3, .t, 9,10, 11, and 12 produce a very characteristic feature when-the keyboard is strictly limited-to the keys enclosed between the lines-MM and ()O in Figures 1, 2, 8, and 4. Omit-ting Figures 1 and 2, the keyboards illustrated in the other figures are constructed, beginning with a notesounder or key which soundsthe note A and ending with the note-sounder or key which sounds the. subtonic G sharp, so that the twelve'ditterent: notes of each oct ve are contained intwo rows of six keys, hall in onerow and the other half in the other row. At the same time, the keys of each pair or semi-part-octave-angular-transverse row are distributed over three straighttransverse rows, the first key seen in Figure 10 2A being placed in the first straighttransverse row marked lll-T 01, the second key 2A sharp in the second stra ht-' verse row N-NO2. and the rest of the l; ys 2B, 2G, 2G sharp, and 2D of the semi-p row in the third stmight-transverse i NN1, with the result that any straighttransverse row of six keys contains belonging to three semi-pair rows, so that, for example, row N-N1, with its first key 3A being the first key of one angular row Z3 3BN3, the third o'i that series of three angular rows, the second kc. 2E be. the second key of the second 2F- 2$2 that series of three angular rows, and t third 23, fourth 2 fifth sharp, am sixth 21) keys belonging to th first Z12bNl of that series of three angular rows. The keys of each seinhpair row are then divided into three parts, the first two parts consisting of one key each. and the third part being the tour keys which are the remainder of the semi-pair row. Consequently, in a keyboard rigidly confii semi-pair rows as in Figures 9, 10, 1.- 12, the top row must consist of the keys which are the third part of the t semi-pair row counting the rows from shore downwards, whilst the second row must consist of the five keys which include the second part of the'first semi-pair row together with the third part of the second semi-pair row, the third row consisting of the first part of the first semi-pair row, the second part of the second semi-pair row, and the third part of the third semi pair row. The body of the keyboard consists of transverse rows constructed similarly to the third row in number two less than the number of semi-pair rows, the penultimate row consisting of the first part of the penultimate semi-pair row and the second part of last semi-pair row containing two ke and the last rowconsisting ot the ill?! part of the last semi-pair row containing one key only. In Figures 3 and i the two too and the two bottom rows-are filled up wi" e belonging to other semi-pair rows, so that the block of rows all having sir; keys is formed of complete and partial semi-pair rows. Omittin-g the keys separated by the lines MM and O0 in Figures 3 aud t. n these figures and Figures 9, 10, 11 and 12. the first key on the left side and the s xth key on the right side may, belon ug to first part of the first angular-trau vei semi-part-octave row, nun ibering the from below upwards, sound the note A. belonging to the first part oi the second angular transverse semi part octave row sound the note D sl'iarp, and likewise for iii every pair of such angular rows, the second key on the left side and the fifth key on the right side may, belonging to the second part of the first angular-transversesemi-part octave row straight-transverse row, sound .the note A sharp, and belonging to the second part of the second angular-transverse-seini-partoctave row, and situated in the third straight-transverse row, sound the note E, and likewise for every pair of such rows, and the third, fourth, fifth, and sixth keys on the right side may, belonging to the third part of the first ang lar-transverse-semi-part-octave row, and situated in the third straight transverse row, sound the notes 13, C, C sharp, and D, and belonging to the third part of the second angulartransverse-semi-part-octave row, and situated in the fourth straight-transverse row, sound the notes F, F sharp, G, and G sharp, and likewise for every pair of such rows, so that every alternate row contains notes of the same name and in the'sa'me position which only differ when they do diifer by belonging to'octaves of higher or lower position in the treble or bass.

The great advantage of this construction whereby a semi-part-octave row of SlX keys is distributed over three straight-transverse rows of keys thus forming an angulantransverse-semi-part-octave row, is that in the body of the keyboard the angular-transverse semi-part-octave rows are hidden or masked, and the straight-transverse rows are objective and apparent, the keys being adapted to fulfill two purposes, one, to fit the different length of the fingers when playing notes in one semi-octave or octave, and two, to fit the necessity of the easiest play in a perpendicular direction, or up and down thekeyboard from one octave to another.

The straight-transverse row ,of keys is straight throughout its length in Figures .3 and 4, but in Figures 11 and 12 the OIFK is set half a key-width lower, and in Figures 5, 6, 9, and 10 the hfiFK is set half a key-width higher as well.

I ClflllIlt 1. A concertina having two chromatic keyboards, one keyboard particularly adapted to one hand, the other keyboard to the other hand of the piayer, having its keys grouped in parallel rows parallel to the handrail, the rows being placed, one above the other so as to form six. lines of'keys which are perpendicular to the straight line of the handrail, each transverse row in the body of the keyboard having six keys, whilst the rows at the extremities, the top two and the bottom two rows, may be of less plurality of keys, so that the top row may have the first four keys only on the right side and the last four keys only on the left side, the second and situated in the second row from the top may have the first five keys only on the right side, and the last five keys only on the left side, the penultimate row may have the last two keys only on the right side and the first two keys only.

on the left side, and the last row may have the lastkey' only on the right side and the first key only on the left side.

2. In a Concertina as claimed in claim 1 the first key of each row being half a keywidth below the straight line formed by the remaining keys on the'right side, number ing the keys from the left edge of the keyboard, and the sixth key of each row being half a key-width below the straight line formed by the remaining keys on the left side.

3. In a concertina as claimed in claim, 1 the first key in each row being half a keywidth below and the third key being half a key-width above the straight line formed by the second, fourth, fifth, and sixth keys on the right side, numbering the keys from the left edge of the key-board,- and the fourth key in each row being half a keyw'idth above and the sixth key being half a key-width below the straight line formed by the first, second, third, and fifth keys on the left side. I

4. A concertina keyboard having its keys placed one above the other so as to form six lines of keys which are perpendicular to the straight line of the handrail, each trans-- verse row in the body of the keyboard having six keys, with the keys of every pair of rows of six being able to sound when pressed the naturals and chromatics of the A commencing in one of the two rows and D sharp commencing in the other of the two rows complete regular chromatic scale of one octave as in the pianoforte, sounding in the one row the notes A, A sharp, B, C, C sharp, and D, and in the other row the notes D sharp, E, F, F sharp, (i, and sharp: every alternate row having keys which sound naturals or chromatics of the same name and in the same position that only differ from each other when they do differ by being in octaves lower or higher pitch.

5. A Concertina having two 'chroinatic keyboards, one for each hand of the player, each keyboard having its keys placed, one above the other so as to form six lines of keys which are perpendicular to the straight line of the handrail, each transverse row in the body of the keyboards having six keys, with the'keys of every pair ofrows of six of each keyboardbeing able to sound when pressed the naturals and the chromatics of the A commencing in one of the two rows and D sharp commencing in the other of the two rows complete regular chromatic scale of one octave as in the pianoforte, sounding in the one row the notes A, A

sharp, B, C, C sharp, and D, and in the other row the notes 1) sharp, E, F, F sharp, G and G sharp: sounding these notes from left to right on the left side, and from right to left on the right side: every alternate row having keys which sound naturals or chromatics of the same name and in the same position that only differ from each other when they do differ by being in octaves of lower or higher pitch.

6. A concertina as claimed in claim 1 in which the first key on the left side and the sixth key on the right side belonging to the irst part of the first angular-transversesemi-part-octave row of every pair of such rows, numbering the rows from below upwards, the twelve different notes of each octave being contained in two rows of six keys, sound the note A, and belonging to the first part of the second angular-transversesemi-part-octave row of every pair of such rows, sound the note D sharp, the second key on the left side and the fifth key on the right side belonging to the second part of the first angular-transverse-semi-part-octave row and situated in the second transverse row, sound the note A sharp, and belonging to the second part of the second angulartransverse-semi-part-octave row, and situated in the third transverse row, sound the note E, and likewise for every pair of such rows, and the third, fourth, fifth, and sixth keys on the left side and the first, second, third, and fourth keys on the right side he longing to the third part of the first angular-transverse-semi-part-octave row, and situated in the third transverse row, sound the notes B, C, C sharp, and D, and belonging to the third part of the second angular-transverse-semi-part-octave row, and situated in the fourth transverse row, sound the notes F, F sharp, G, and G sharp, and likewise for every pair of such rows, so that every alternate row contains notes of the same name and in the same position which only differ when they do differ by belonging to octaves of higher or lower position in the treble or bass.

concertina a claimed in claim 1 havthe first key of each row half a keywidth below the straight line formed by the remaining keys on the right side, numbering the keys from the left edge of the keyboard, and having the sixth key of each row half a key-width below the straight line formed by the remaining keys on the left side in which the first key on the left side and the sixth key on the right side belonging to the first part of the first angular-transverse-semi-part-octave row of every pair of such rows, numbering the rows from below upwards, the twelve different notes of each octave being contained in two rows of six keys, sound the note A, and belonging to the first part of the second angular-transversesemi-part-octave row of every pair of such ins rows, sound the note D sharp, the second key on the left side and the fifth key on the right side belonging to the second part of the first angulartransverse-semipart-octave row and situated in the second transverse row, sound the note A sharp, and belonging to the second part of the second angulartransverse-semi-part-octave row, and situated in the third transverse row, sound the note E, and likewise for every pair of such rows, and the third, fourth, fifth, and sixth keys on the left side and the first, second, third, and fourth keys on the right side helonging to the third part of the first angular-transverse-semi-part-octave row, and situated in the third transverse row, sound the notes B, C, C sharp, and D, and belonging to the third part of the second angulartransverse-semi-part-octave row, and situated in the fourth transverse row, sound the notes F, F sharp, G, and G sharp, and likewise for every pair of such rows, so that every alternate row contains notes of the same name and in the same position which only differ when they do differ by belonging to octaves of higher or lower position in the treble or bass.

8. A concertina as claimed in claim 1 having the first key in each row half a key width below and the third key half a keywidth above the straight line formed by the second, fourth, fifth, and sixth keys on the right side, numbering the keys from the left edge of the keyboard, and having the fourth key in each row half a key-width above and the sixth key half a key-width below the straight line formed by the first, second, third, and fifth keys on the left side in which the first key on the left side and the sixth key on the right side belonging to the first part of the first angular-transversesemi-part-octave row of every pair of such rows, numbering the rows from below upwards, the twelve different notes of each octave being contained in two rows of six keys, sound the note A, and belonging to the first part of the second angular-transverse-semi-part octave row of every pair of such rows, sound the note D sharp, the second key on the left side and the fifth key on the right side belonging to the second part of the first angular-transverse-semipartoctave row and situated in the second transverse row, sound the note A sharp, and belonging to the second part of the second angular transverse senii part octave row, and situated in the third transverse row, sound the note E, and likewise for every pair of such rows, and the third, fourth. fifth. and sixth keys on the right side and the first, second, third, and fourth keys on the right side belon ing to the third part of the first angular-t isverse-semtpart-octave row, and situated in the third transverse row, sound the notes B, C, C sharp, and D and belonging to the third part of the second angular transverse semi part octave row, and situated in the fourth transverse row, sound the notes F, F sharp, G, and G sharp, and likewise for every pair of such sition Which only differ when they do differ by belonging to octaves of higher or lower position in the treble or bass. 10

Signed at 106, Bloomfield Road, Blackpool, in the county of Lancaster, England, this sixteenth day of December 1926.

FRANCIS STANHOPE PITT-TAYLOR, M. 33., Ch.- 3. 

